Oral Tradition最新文献

{"title":"Eall-feala Ealde Sæge: Poetic Performance and \"The Scop's Repertoire\" in Old English Verse","authors":"Paul Battles, C. D. Wright","doi":"10.1353/ORT.2018.0001","DOIUrl":"https://doi.org/10.1353/ORT.2018.0001","url":null,"abstract":"Scenes depicting the recitation of verse, particularly in Beowulf, are among the most memorable and closely studied passages in Old English poetry. Beowulf repeatedly depicts the making and performance of poetry (Hill 2002), and it is the swutol sang scopes (“the clear song of the scop,” Bwf 90a) that first draws the monster Grendel’s attention to Heorot and sets in motion the major events of the first part of the poem.2 In Beowulf, the creation of new stories is inextricably linked with the recitation of ones already known, so that the poem “aligns itself with a poetics where transmission and composition are co-dependent, indivisible aspects of the same act” (Jones 2009:486). A different but equally famous depiction of the scop emerges in the Venerable Bede’s account of Caedmon, wherein divine inspiration supersedes tradition as the source of poetic creativity. Of course, these and similar accounts concerning the making and performance of Old English verse cannot be taken as straightforward portraits of the AngloSaxon “singer of tales”: after all, Hrothgar’s scop is Danish and Bede’s Christian poet is entirely ignorant of traditional song. Moreover, since Beowulf and other narratives depicting vernacular poets—such as Widsith and Deor—are fictional accounts set int he Migration Age, some critics have gone so far as to deny that they can tell us anything at all about the Anglo-Saxon scop (Frank 1993).3 Yet in the words of John D. Niles, such a position seems “to represent a veritable ecstasy of skepticism” (2003:37). Niles usefully characterizes oral poetry as both a living tradition in pre-Conquest England and also as a “cultural myth whose long process of construction was set in motion as soon as the first missionaries from Iona and Rome introduced the arts of writing to Britain in a systematic way” (38). Fictional portraits of the scop, then, combine elements of poetic practice with a deeply-felt nostalgia for an imagined ancestral past (see Trilling 2009). While not straightforwardly reflective of reality, neither are they completely divorced from it. Even Oral Tradition, 32/1 (2018):3-26","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2018.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49628809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editor's Column","authors":"J. Zemke, Paul Battles, Charles D. Wright, D. Poupard, Maria Vivod, Virginia Blankenhorn, M. Knight, Michael D. C. Drout, Leah Smith","doi":"10.29046/jjp.003.2.005","DOIUrl":"https://doi.org/10.29046/jjp.003.2.005","url":null,"abstract":"","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"32 1","pages":"- - - - - - - - - - - - - - -"},"PeriodicalIF":0.0,"publicationDate":"2018-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49099943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Parallelism in Karelian Laments","authors":"E. Stepanova","doi":"10.1353/ORT.2017.0018","DOIUrl":"https://doi.org/10.1353/ORT.2017.0018","url":null,"abstract":"Karelian lament poetry integrates a variety of forms of parallelism—different types of what Roman Jakobson (1981 [1966]:98) described as “recurrent returns”—that are both organizing principles for the poetic discourse and also rhetorical resources that a lamenter can draw on and manipulate in performance. Parallelism operates at the phonic level of sounds, both recurrent sounds in alliteration and recurrent melodic structures. It works in different ways at the level of individual words and formulaic expressions within a phrase. Parallelism is also prominent at the level of larger structural and thematic units. The types of parallelism in Karelian laments work complementarily with one another, and in several respects may also differ from their uses in other traditions. The integrated combination of all these types of parallelism produces Karelian lament as a distinctive form of verbal art. In this opening section of this essay, I introduce the Karelian lament tradition and features of lament performance and poetics. The second section offers an overview of the different types of parallelism at work in Karelian laments. This survey begins with the phonic parallelism of alliteration and parallelism at the level of words and formulae, continues with semantic parallelism of larger units in composition, and finally considers parallelism between the language of laments and the environment where laments are performed. The third section discusses the rhetorical functions of parallelism in laments. Forms of semantic parallelism are shown to be potentially meaningful in themselves. The potential for semantic parallelism between larger units of expression is shown to allow flexibility that makes it a resource for organizing extended sequences of lament poetry. The fourth section turns to the question of how parallelism as a structuring principle of lament can penetrate into a lamenter’s way of speaking about laments so that the metadiscourse becomes organized on the same principle. The conclusion considers how all the different levels of parallelism and their flexibility make Karelian lament a dynamic resource for personal expression.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47373032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The Language of Gods\": The Pragmatics of Bilingual Parallelism in Ritual Ch'orti' Maya Discourse","authors":"Kerry M. Hull","doi":"10.1353/ORT.2017.0011","DOIUrl":"https://doi.org/10.1353/ORT.2017.0011","url":null,"abstract":"Parallelism is the foremost stylistic device in Mayan and other Mesoamerican languages (B. Tedlock 1985; Tedlock 1986; Brody 1986). Metrical features common to Western poetic traditions play no significant role in Maya poetics. According to Josserand (Josserand and Hopkins 1991:21), what meter and rhyme are to Western poetry, couplets and parallelism are to Maya poetry. The most common forms of parallelism in Mayan languages are couplet, triplets, and the quatrain, though distich couplets remain the dominant structuring mechanism. Maxwell (1997:101) defines couplets as “the stylized repetition of all or part of an utterance, echoing either form or content.” Monaghan (1990:134) defines a couplet as the repetition of a line that is associated by parallelism in semantics or syntax to the previous line. Paralleled forms can be found in daily speech in some Maya groups, but it appears more commonly in narratives and ritual discourse. Gossen (1983:309) notes that all oral narratives of the Chamula Tzotzil use semantic couplets as the unidad poética principal (“principal poetic unity”). Ritual speech, however, is where parallelism really flourishes in Mayan languages. Parallelism is the defining sine qua non of ritual discourse, primarily in the form of couplet speech. Ritual speech among most Maya groups tends to be denser and more frequent in couplet forms than other varieties of speech (Gossen 1974; Maxwell 1997; Stross 1974). For example, the Ixil of Cotzal make considerable use of both figurative and non-figurative couplets in ritual contexts (Townsend et al. 1980). For the Ch’orti’ Maya of southern Guatemala, ritualized forms of speech are always performed in parallelistic fashion, especially in traditional healing ceremonies. Unfortunately, community-wide ceremonialism is in steep decline among the Ch’orti’ today as fears of being labeled a “witch” or “sorcerer” have driven most ritual specialists underground or out of business altogether.1 During my fieldwork of over 30 months with the Ch’orti’, I worked with many of the few surviving ritual specialists and recorded numerous healing rites. The data gathered during that process informs the discussion of Ch’orti’ ritual poetics that follows. The results presented here add to our understanding of the expressive creativity that can occur in bilingual communities in which two languages can be tasked the formation of parallel structures. Oral Tradition, 31/2 (2017): 293-312","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47586401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Remembering and Recreating Origins: The Transformation of a Tradition of Canonical Parallelism among the Rotenese of Eastern Indonesia","authors":"J. Fox","doi":"10.1353/ORT.2017.0009","DOIUrl":"https://doi.org/10.1353/ORT.2017.0009","url":null,"abstract":"I have been studying an oral tradition of strict canonical parallelism intermittently for nearly half a century. I began my research on this oral tradition based on the island of Rote in eastern Indonesia in 1965, and have continued these efforts, now with greater urgency, to the present. I have also been investigating issues in comparative parallelism for roughly the same period of time. In 2014 I published Explorations in Semantic Parallelism, which marked an important stage in this research. This volume is a collection of papers both new and old. For example, I reprinted my first survey of the field in 1977 published in honor of Roman Jakobson together with a longer paper on the “trajectory” of subsequent and continuing developments in the study of parallelism. Explorations in Semantic Parallelism also reprints several of my papers on the study of the Rotenese tradition of canonical parallelism together with various papers that continue to extend my study of this tradition. My personal understanding of the Rotenese tradition of canonical composition has grown over several decades, while the tradition itself has been undergoing change. My perceptions of this change are intimately linked to my increasing comprehension of the tradition as a whole. In this paper I take stock of the work on that tradition to date and to put it into perspective. I also describe the changes that have occurred in the tradition over the course of my research as I gradually gained new perceptions of its fundamental underpinnings. Much of my general research on Rote has been historically oriented. The island has its own extensive oral historical traditions as well as Dutch archival records that date to the mid-seventeenth Oral Tradition, 31/2 (2017): 233-258","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47117678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Parallelism in Arandic Song-Poetry","authors":"Myfany Turpin","doi":"10.1353/ORT.2017.0020","DOIUrl":"https://doi.org/10.1353/ORT.2017.0020","url":null,"abstract":"","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48066688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Twin Constellations: Parallelism and Stance in Stand-Up Comedy","authors":"Antti Lindfors","doi":"10.1353/ORT.2017.0021","DOIUrl":"https://doi.org/10.1353/ORT.2017.0021","url":null,"abstract":"","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2017.0021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49098224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Said a Word, Uttered Thus\": Structures and Functions of Parallelism in Arhippa Perttunen's Poems","authors":"J. Saarinen","doi":"10.1353/ORT.2017.0016","DOIUrl":"https://doi.org/10.1353/ORT.2017.0016","url":null,"abstract":"Parallelism is one of the most outstanding features of the Finnic (or Balto-Finnic) tradition of oral poetry that is found throughout areas of present-day Estonia, Finland, and adjacent parts of Russia. Performers of this poetry speak several different but closely related languages: Finnish, Karelian, Ingrian, Votic, Estonian, and Seto. Nevertheless, the poetic idiom, or register, is quite uniform, sharing the basic characteristics of meter, non-stanzaic structure, alliteration, and parallelism, with some anticipated regional variation.1 It has various names in different languages. In Finland and Karelia, the most common designation is Kalevala-metric or kalevalaic poetry2 or runolaulu (“runo song”).3 In Estonia it is usually called regilaul or regivärss.4 The poetic form has a strikingly broad range of uses for diverse genres, such as narrative poems, lyric and ritual songs, recited incantations, proverbs, and riddles. Many genres were connected to different sorts of social situations or discourse functions and a variety of modes of performance that also varied regionally. Across diverse communities and language areas where this poetry was documented as a living tradition, the poetic form exhibits great dynamism in its continuities and historical endurance in contrast to its range of uses in different practices. When considering variation in the poetic form, the most significant historical factor has been changes in language and dialect. In both western regions of Finland and to the south near the Gulf of Finland, words became somewhat shorter, but further south in Estonia the shortening of words was greater and began earlier. The metrical form historically was based on a trochaic tetrameter with flexibility in the first foot, which means that a basic line had eight syllables, although an extra syllable or two could be added in the first two positions. Oral Tradition, 31/2 (2017): 407-424","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"31 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41342164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Parallelism and Musical Structures in Ingrian and Karelian Oral Poetry","authors":"Kati Kallio","doi":"10.1353/ORT.2017.0013","DOIUrl":"https://doi.org/10.1353/ORT.2017.0013","url":null,"abstract":"The focus of this essay is the complex relationship between textual parallelism and performance in historical oral poetry. Since there is no possibility of carrying out any personal ethnographic fieldwork, the main approach to the local categorizations and meanings of singing is to analyze recurrent patterns and combinations of different elements in archival material. This approach relates to discussions about ethnopoetics and textualizing oral poetry.1 Previously, I have analyzed the local understanding of genres and registers via the analysis of the relationships between poetic texts, melodic structures, singing practices, and performance arenas in archival material relating to one cultural area (Kallio 2013 and 2015). The present essay analyzes relationships between textual parallelism and musical structures in sound recordings from two Finnic singing cultures with related languages and similar poetic forms, but different singing practices. The singers of Ingria and Archangel Karelia had slightly different uses, versions, and interpretations of so-called kalevalaic or Kalevalametric poems (runo-songs).2 The singing styles of these poems varied by region, song genre, performance setting, and performer, and these kinds of factors also affected the relationship of textual and musical parallelism. On a general level, the recordings may be divided into four, partly overlapping cases:","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43434799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Parallelism in the Hanvueng: A Zhuang Verse Epic from West-Central Guangxi in Southern China","authors":"D. Holm","doi":"10.1353/ORT.2017.0015","DOIUrl":"https://doi.org/10.1353/ORT.2017.0015","url":null,"abstract":"Parallelism is ubiquitous in Zhuang poetry and song and hence also occurs in ritual texts and a range of oral genres. Curiously, this salient fact has generally escaped the notice of scholars writing on the subject of Zhuang poetics. Discussion has generally been concentrated on line length, rhyming patterns, and stanzaic structures as found in Zhuang traditional song genres.2 This essay looks specifically at the phenomenon of parallelism in one particular ritual text from west-central Guangxi. The Hanvueng is a long verse narrative that is recited at rituals intended to deal with cases of unnatural death and serious family quarrels, especially fraternal feuds. The plot involves an old king and his son by his first wife, Hanvueng. After his wife dies, the king remarries a widow from a commoner family, who brings a son with her. She and her son, Covueng, then set out to disenfranchise Hanvueng and drive him out. Hanvueng goes into exile, but the old king becomes ill and has him recalled. The struggle continues when Covueng attempts to kill Hanvueng while the two are hunting. He finally succeeds in having Hanvueng sent down a well to search for water, and then murders him. After his death Hanvueng flies into the sky and establishes a realm there, from which he rains pestilence down upon his former domain. Covueng sends an eagle and a crow up to the sky to resolve his dispute with Hanvueng. In the end Covueng retains the earthly domain, but pays an annual rent to Hanvueng in the sky. Meng Yuanyao and I have recently published an annotated edition of a Hanvueng manuscript (Holm and Meng 2015). With a total length of 1,536 lines, this text is quite long for a Zhuang vernacular ritual text. In some ways it provides a reasonably close parallel in form and Oral Tradition, 31/2 (2017): 373-406","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":" ","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2018-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2017.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}